Example Sounds by Ed DMX of  www.dmxkrew.com 

AS01 - single oscillator through the RS-100 filter with velocity controlling the VCA for a pseudo-echo effect (no outboard delay was used).
AS02 - similar to the above patch but with three oscillators in unison.
AS03 - a bass sound using oscillator sync.
AS04 - a sound using oscillator FM. A single oscillator is used and the modulating wave is generated using an octave divider to avoid the inharmonic effects normally caused by oscillator drift when attempting FM on analogue synths.
AS05 - a bass sound using ring modulation played by the analogue sequencer with drums from the K2000 sequencer. One step only in the sequence has fairly extreme filter modulation by an LFO.
AS06 - another FM bass sound, this time two oscillators are synced together and the octave divider is used again to avoid tuning inconsistencies. The filter is the RS-110 modulated by sample and hold which is retriggered for each note, and the drums are from the K2000.
AS07 - clocking the sequencer from an oscillator at audio frequencies allows some more digital-sounding waveforms to be made. There is some subtle modulation of the wave shape using sample and hold triggered by each key-press.
AS08 - two oscillators are both synced to a third which is not present in the audio output. The pitches of the two slave oscillators are both modulated by note velocity but for one of them it is inverted. The oscillators are panned hard left and right and I twiddled the tuning knobs while it was playing.
AS09 - there are two sawtooth oscillators tuned a fifth apart and a third oscillator playing a sinewave one octave below (CS60-style). All this goes through the RS-100 filter which is affected by note velocity as well as an envelope with fairly slow attack. Two of the oscillators have some extremely subtle pitch modulation from independent LFOs.
AS10 - just two oscillators through the RS-100 filter. One is set to a descending sawtooth wave and the other to an ascending sawtooth. The interference between the two waves makes a nice sound similar to PWM.
AS11 - three oscillators tuned to a chord, each set to respond to pitchbend by different amounts (and in one case by a negative amount) so that unusual portamento effects between chords are created.
AS12 - a simple two oscillator sound through the comb filter which is modulated by an LFO for some phasing effects.
AS13 - using the synth as a drum machine: the kick drum is just a square wave through the RS-100 filter with one envelope controlling the volume and filter cutoff and another modulating the pitch. The weird hihat sound is a second square wave being modulated by a sine wave from the third oscillator, the pitches are controlled by the analogue sequencer. The snare is just white noise through the RS-110 filter and the comb filter which is just used to add distortion and to make echoes.
AS14 - two oscillators tuned a fifth apart through the RS-110 filter, the third oscillator has a slow attack and has its pitch modulated by the analogue sequencer. Echo from the Lexinc MPX1.
AS15 - two oscillators in unison both modulated by a very fast LFO that dies away extremely quickly, the third oscillator is through a filter which is modulated by a looping envelope.
AS16 - one oscillator simply goes through the low pass filter, the other one is modulated by the analogue sequencer, which is triggered each time a key is pressed. The rate of the sequencer clock is subtly modulated by one of the LFOs and the pulse width of oscillator two is modulated by another. Reverb from the MPX1.
AS17 - two oscillators tuned two octaves apart go through the RS-110 in high-pass mode, which is modulated by an LFO. Both the square and the sawtooth outputs from oscillator three are tuned an octave below and processed by the RS-100 filter.
AS18 - first you hear oscillator two which is outputting a pulse wave synced to oscillator one and having its pitch swept by an LFO. At the same time the pulse width is modulated by the oscillator's own sine output. Next you hear oscillator one which has the square and sawtooth outputs sent to a voltage controlled switch which is switching between the two waveforms at exactly one quarter of the frequency of each note, so you get quite a complex waveform, especially as the pulse width is also being swept by an LFO. Finally you hear both oscillators together.
AS19 - my voice going into the ring modulator, and also into the pitch to voltage converter, which is used to control the pitch of the oscillator used as the second input to the ring mod.
AS20 - two oscillators both slowly sweeping between sawtooth and triangle waves at different rates, both playing different eight-note sequences from the analogue sequencer, both going into the ring modulator. The output goes into the RS-110 filter in lowpass mode, which is modulated by an envelope triggered on certain steps of the sequence for an "accent" effect. The output from the filter is split into two, one copy going straight to the VCA and the second copy going via the comb filter. During this demo the cutoff frequency of the filter is adjusted and the amount of signal coming from the comb filter is gradually increased.

Ed DMX Krew dropped by to see us recently and did some more sound demos for us on the Goliath system (Kernow sessions 1-20) and a second set in his studio (London sessions 21-47) 

1 AB JAZZ Pad is RS370 through RS440 delay. Drums are various modules with sample-rate reduction using the RS40 clocked from an RS95, signal then passed through an RS100 low pass filter modulated by an LFO. Drums sequenced using the RS450. Bass is a one oscillator patch using the RS500e filter, played by hand. Lead is a 2 oscillator patch using the RS500e EMS filter and the RS510e Trapezoid, some echo added externally. Excuse my sloppy timing! 

2 AGGY Drums Various modules sequenced using the RS280 and RS200. The sequence is an RS95 through an RS100, sequenced by the RS450. The RS440 is providing modulated delay effects. 

3 AMEN1 Breakbeat sampled into the RS450. Signal is fed through the RS240 frequency shifter, the output of which is mixed with the original signal. Signal is also fed into the RS35 and the FREQ output used to modulate the RS240. Later in the recording the playback rate of the RS450 is modulated using various CVs. 

4 AMEN2  More sampling fun, this time also using the RS500e EMS filter. Towards the end there is FM of the sample playback rate. 

5 AS BEAT Kick is an RS100 with resonance fully up, cutoff modulated by an envelope, vatious envelope settings. Snare is two RS95 oscillators FM-ing each other, with some modulation also from an envelope. The signal goes through the RS240 frequency shifter which is modulated a bit, and also the RS440 delay. Hihats are several RS95 oscillators and RS85 LFOs with high frequency square waves modulating each other and mixed together, all run through the RS110 using the high pass output. Towards the end the frequency of some of the oscialltors is altered by hand. 

6 BLIPPEEE1 RS200 sequence playing a few sounds. RS280 is used to send only some of the gates to some envelopes so that different sounds play in different patters. There are three sounds playing: a simple FM patch using two RS95s, an even simpler bleep made using an RS100 with the resonance on maximum, and a bass sound using an RS95 and the RS240 frequency shifter modulated by the RS35 which is being fed by one of the other sounds. 

7 BLIPPEEE2 By sampling part of the previous track and looping it, I made this simple techno loop. 

8 CARPENTER White noise through the RS110 using the band pass output, modulated by the RS200 sequencer. Snare is a simple FM patch using two RS95s and some pitch modulation from an envelope, through an RS100 filter. Kick is an RS100 with maximum resonance. Bass patch uses the RS500e EMS filter and the RS310 reverb/chorus, sequenced by external MIDI. The lead patch also uses the RS500e with the RS510e trapezoid, played by hand. 

9 DIDGE Drums made using various modules, sequenced using RS200 and RS280. Bass is 4 x RS95 running through 4 x RS100 filters with various settings, and separate RS85 LFOs modulating the cutoff frequencies. 

10 EMS  Two sounds using the RS500 EMS filter, played by hand (poorly!) plus some reverb. 

11 FREQSHIFTSAW A very simple sequenced sawtooth wave running through the RS240 frequency shifter with various different settings, plus some echo added later. 

12 HODDY1 Drums made using similar methods to AS BEAT. Sequence is an RS95e sequenced by the RS450. The sound goes through the RS440 delay with the mix level controlled by an LFO so the echoes come and go. A couple of times in the recording, missing out one or two triggers changes the first note of the sequence. Various envelope and filter settings are used and tomwards the end the oscillator pitch is modulated by the envelope as well. 

13 KARPLUS1 A very short burst of noise is triggered repeatedly and goes into the RS310 Reverb with a high feedback setting for a kind of karplus strong effect. Delay time is controlled by the RS200 sequencer affecting the pitch. Feedback is increased and decreased during the recording. 

14 MOODS1 Drums made using similar methods to previous tracks, sequenced using the RS200 and RS280. Main sequence is 2 x RS95 through the RS100 filter and the RS400 phaser. The lead sound is three detuned RS95s through the RS500e filter, also using the RS510e trapezoid, played by hand to the usual standard. The sound goes through the RS440 delay. 

15 MOODS2  The same sequence going more slowly, the RS400 phaser is easier to hear on this example. 

16 ON THE RUN Classic Pink Floyd emulation using the RS450 sequencer and the RS500e and 510e EMS modules. 

17 PATTERN1 Similar drum techniques to other tracks. On this one the kick is routed through the RS430 distortion and then the RS40 sample and hold, which is clocked at high frequency by an RS95 to give sample-rate reduction effects as the pitch of the RS95 changes. Bassliine is sequenced by the RS450, a stack of two or three oscillators through an RS100 filter. 

18 RS370 PAD Two RS370 patches layered and played from a MIDI keyboard with some echo. Apologies to Wayne Shorter. 

19 SEMIRANDOM Two LFOs added together using an RS160 mixer, the output from which goes to the RS260 quantiser. The quantised output is fed to a simple 1 oscillator patch. The sound goes through the RS390 delay and the delay time is modulated by one of the original LFOs to give pitched echoes which are related to the oscillator pitch. RS390 is manually tweaked during the recording. 

20 VOCAL FILTER A simple sawtooth wave through the RS360 filterbank, played by hand. Echo added later. 

21 5 MODULE PLANET  5 modules patched together and left to play by themselves. I think I used 2 x RS95, 1 x RS60, 1 x RS120 comb filter, 1 x RS85 LFO. 

22 AMBIENT Two oscillators sequenced from th RS200, with pitch modulation from RS60 envelopes. Drums are from an external sampler. 

23 ANALOGUE LOOP All sounds generated using about 12u of Analogue Systems modules! 

24 AS Wiggle 2 Bassline sequenced by RS200, self-generating arpeggios created by various LFOs and quantisers. 

25 AUTOKRAUT Bassline by RS200, melodies created by a mix of LFOs and quantisers. 

26 CHI SYGNI BASS Bass patch using the RS120 comb filter. Drums from an external sampler. 

27 CRANKY TRAK A simple acidy patch (RS95 and RS110) over drums from an external drum machine. Later an FM patch joins in (2 x RS95) driven from the same sequence as the acid sound. 

28 ENTROPY BASS2 More 3 osc bass tweaking, with drums from an external sampler. 

29 ENTROPY BASS1 3 x RS95, RS100 Low pass filter and RS110 using the band pass output, various filter tweaks by hand.

30 FLOPHOUSE Bassline uses the RS60 Envelope generator in loop mode as an oscillator. The pitch is controlled by sequencing the decay time of the envelope using the RS200. Melody is generated by a mix of LFOs though a quantiser. Chords are 3 x RS95 tuned to a chord and sequenced using external MIDI. Hihat is white noise through an RS110. Drums from a TR-606. 

31 FM BASSLINE Simple 2 x RS95 FM patch over some TR-606 drums. 

32 FREAKY TEK Some complex FM patching using 3 x RS95 and the RS100 filter modulated by an LFO. 

33 FUMMIE Almost guitary sounds using two rows of the RS200 to sequence the oscillators, with random variations using noise and quantisers, plus a white noise hihat. 

34 GLANTANE Bells from an ESQ-1 played into the RS40 sample and hold, clocked by an RS95 at audio rate to create sample-rate reduction effects. 

35 GLIMMUNG One of those loopy techno beats using the whole system. 

36 HELDSCALLA Simple bass and beats using clock dividers to sequence fixed-pitch oscillators. The sequencer is stopped and started by using the RS40 to extract triggers from noise, so that short snatches of melody are played at random. 

37 IT'S ALL GONE MODULAR Using the whole modular to make a techno loop. RS60 settings are altered by hand. 

38 KARPLUS ACID Uses the RS120 comb filter to create a strong karplus oscillator which is filtered through the RS110. Drums created using the rest of the system! 

39 LOOP1 MIX Once again setting up the whole system to play a complex techno loop. I then sampled the loop using a computer and overdubbed a kick drum. 

40 MODULAR BOOGIE What people did with modular synths in the 60s and 70s. Also features some Korg MS10 melodies. 

41 OUTSIDE THE EVENT HORIZON RS95s FM-ing each other with some subtle dirt from the RS120. 

42 SIMON Lots of oscillator FM and filter FM! 

43 SOLSTICE Analogue Systems recorded in one take, plus a Fender Rhodes piano overdub. 

44 SPACE BRAIN Using all my modules to make an odd track. 

45 TENSION Using the RS120 comb filter as a lo-fi delay. String sound from an external synth. Explosion at the end from kicking the spring reverb! 

46 THE KILLER 2 x RS95 sequenced from the RS200. Echoes added later. 

47 TWO MACHINES 2 x RS95 / RS100 patch with drums from some old Roland boxes.

A selection of sounds created by Bakis Sirros of Parallel Worlds, to showcase the Analogue Systems samples CD

Track 1. 
Interlude 195 BPM
Track 2.
RS95 SAW (C1, C2,3,C4)
RS95 SINE (C1, C2,3,C4)
Track 3.
Approaching giant robot
Stuck in the mud
Laser zap 1
Laser zap 2
Laser zap 3
Track 4.
FX1
FX2
Wow & flutter 76 BPM
Robotic arm
Track 5.
Bass sequence 1 100 BPM (C2, D2#, G2, C3)
Bass sequence 2 100 BPM (C2, D2#, G2, C3)
Dangerous acid 100BPM (C1)
Track 6.
The dark void 1 (C1+C2, C2+C3)
The dark void 2 (C1+C2, C2+C3)
Shimmering lights (C1+C2, C2+C4,C4+C5)
Glass expo (C1, C2, C3, C4)

The following six tracks are demo soundscapes to showcase the capabilities of the RS370 polyphonic harmonic generator (All done in realtime with no multitracking) 
These six soundscapes are not for sampling. Copyright © Bakis Sirros - Parallel Worlds 2006
1. In agony
2. Running out of time
3. Running out of time 2
4. Symphony of metals
5. Dominated
6. Dominated 2